SPRING, SUMMER 2016
SPRING WORKSHOPS 2016
Neutral Mask: Unveiling the power of the Neutral Mask in the search of theatrical presence and physical control.
Taught by MTS Founder Richard Crawford. 4/1 - 4/3.
Clown 1: In this eight-week class, it's your big chance to seek the source of your comic nature, connect to your playful spirit and discover your clown!
Taught by Justine Williams. Monday eves., 4/4 - 5/9.
Lecoq 101: An opportunity for physically curious actors to explore the core principles of Jacques Lecoq's pedagogy for the first time. The workshop will cover Neutral Mask, Le Jeu, Gestural Languages, ensemble-created theater and more.
Taught by MTS Founder Richard Crawford. 4/22 - 4/24.
Theater of Objects: New! Hot off the international success of his hit show The Object Lesson, Geoff Sobelle teaches a three-day workshop exploring the world of the inanimate and its potential drama.
Taught by Geoff Sobelle. 4/22 - 4/24.
Contemporary Puppetry in Practice: A unique three-day course in contemporary puppet manipulation, based on principles of traditional Japanese Bunraku.
Taught by Tom Lee (Horse Puppeteer, War Horse). 4/29 - 5/1.
Los Angeles — Lecoq Master Class with Norman Taylor: The master class proposes a playful and rigorous study of the inherent rhythm, shape, speed, weight and dynamic of character driven text via the actor's body.
Taught by Norman Taylor. 4/1 - 4/3.
SUMMER PHYSICAL THEATER INSTITUTE 2015
In association with:
June 20th-July 15th (no classes July 4th)
- Four-Week Intensive: Drawing upon the Lecoq pedagogy and focusing on the Actor as Creator to create original and physically-told narratives.
- One-Week Workshops: The Ensemble Director, Lecoq 101, Norman Taylor Master Class, Clown 1
The mission of the Movement Theater Studio is to create a home for the teachings of Jacques Lecoq in New York.
MTS believes that there is no separation between the psychological and the physical actor. The most exciting performer is one who can engage their imagination fully while having a rigorously trained physical instrument through which these impulses can be dynamically expressed.
All full time faculty at MTS have trained at École International du Théàtre Jacques Lecoq, Paris.
- PHYSICAL CONTROL - the actor must have maximum control of their body in movement. How can we rid ourselves of physical habit and everyday movement on stage? How can we ensure that the physicality of a character comes from a clear and dynamic choice? Every gesture of the actor must have meaning and take on a heightened quality that is more real than real.
- CHARACTER TRANSFORMATION - the actor must disappear when portraying a character. How can we truly transform physically as well as capturing the emotional impulses of the character? What can the rhythm of a walk say about an inner life? With what part of the body does the character lead? Is there more fire or earth in the character's movement? How can we write a character bio on our feet? By taking a physical approach to character creation we develop an understanding of universal archetype that can be tuned to the specific needs of each role - by asking what unifies us first we can then ask what makes us unique.
- COMEDIC TIMING - all actors must have an innate sense of rhythm. Comedy is the punch-bag of timing. The heightened nature of Clown and Commedia dell'Arte require an exacting focus, the results of which permeate all performance styles. Comedy provides a magnifying glass to human behavior and performing at this heightened level will train the "inner drum" of each performer.
- THE ACTOR AS CREATOR - the actor must have the greatest sense possible of their role in the telling of story. MTS helps actors understand all elements of narrative that includes character, dramatic motor, rhythmic mount and the dynamic of text. The focus at MTS is on students creating their own material, inspired by their understanding of the world and their interpretation of the techniques studied in class. These skills can be used to create work outside of the studio.
- THINKING WITH YOUR BODY - Doing is understanding. How can we work from the outside in to convincingly portray emotion? Are there ways other than emotional recall to access the true spirit of a specific emotion? What is the shape of that emotion? Where do we find the dynamic of that emotion in nature? What color captures the essence of fear? How can the physical shape, rhythm of breath and gaze of the actor inform their inner life?